“The Creative Journey: Martin Scorsese’s Rewrite of ‘Killers of the Flower Moon'”

“Killers of the Flower Moon” Adjusts Focus to Address White-Savior Concerns

White Male-Centric Narratives: A Historical Movie Dilemma

The upcoming film “Killers of the Flower Moon,” directed by Martin Scorsese and starring Leonardo DiCaprio, has recently come under scrutiny for its potential to perpetuate the white-savior narrative often seen in Hollywood productions. The pressure to address this concern has led to significant changes in the film’s storytelling approach, aiming to give voice to marginalized communities and reframe the narrative.

Scorsese candidly admitted that the original version of the movie focused too heavily on white men, reflecting a recurring problem in historical dramas. These narratives tend to center on the heroic actions of white characters deemed necessary for the resolution of conflicts faced by marginalized communities. In an interview with Time, Scorsese acknowledged this issue, stating, “After a certain point, I realized I was making a movie about all the white guys… Meaning I was taking the approach from the outside in, which concerned me.”

The Shift in Focus: A Marriage and a Cultural Awakening

In response to these concerns, Scorsese decided to rework the film’s central drama to emphasize the marriage between Ernest Burkhart (played by Leonardo DiCaprio), a white settler, and Mollie Kyle (played by Lily Gladstone), a Native American woman from the Osage community. This shift in focus intends to provide a more nuanced exploration of the cultural dynamics and power struggles within the Osage Nation during the 1920s, rather than presenting a traditional white-savior narrative.

The decision to reframe the narrative and highlight the experiences and agency of the Osage people came in part through collaboration with Osage Principal Chief Geoffrey Standing Bear and his office. Scorsese and the production team sought consultation and guidance, demonstrating a commitment to accurately representing the Osage Nation’s history.

Avoiding the White-Savior Trope: A Necessary Conversation

The concern surrounding “Killers of the Flower Moon” reflects a broader critique of the film industry’s perpetuation of the white-savior trope. Many movies, regardless of their intentions, have often placed white characters in positions of power and heroism, inadvertently marginalizing and silencing the stories and perspectives of communities they purportedly seek to highlight.

Lily Gladstone, who portrays Mollie Kyle in the film, expressed her initial skepticism about the narrative but praised the revisions. In an interview with Vulture, Gladstone emphasized that the film is “not a white-savior story,” but rather an acknowledgment from the Osage people to “do something” and an invitation for others to support their struggle against injustices. This shift is an essential step towards diversifying storytelling and giving voice to historically marginalized communities.

The Importance of Authenticity: Collaboration and Representation

Collaborating with Communities: An Essential Step

The inclusive approach taken by director Martin Scorsese and the production team in working closely with the Osage Nation underscores the significance of collaborating with the communities being portrayed. By seeking input and guidance, the filmmakers demonstrate a commitment to authenticity and a more nuanced depiction of historical events. This collaborative effort not only enhances the accuracy of the narrative but also fosters a sense of respect and understanding between filmmakers and the communities they represent.

With the participation of Osage Principal Chief Geoffrey Standing Bear and his office, “Killers of the Flower Moon” carries the responsibility of accurately portraying the history and experiences of the Osage people. By placing value on these partnerships, the film strives to ensure that the perspective of the Osage community receives the recognition and respect it deserves.

Native Representation and Storytelling

The reimagining of “Killers of the Flower Moon” also highlights the importance of Native representation both in front of and behind the camera. Gladstone, who herself is of Blackfeet and Nimíipuu heritage, commands attention as she navigates her character’s complex journey. This casting decision not only adds authenticity to the film but also provides an opportunity for underrepresented communities to tell their stories and reclaim their narratives.

Furthermore, Gladstone’s praise for the collaboration between Native writers and Hollywood filmmakers speaks to the need for increased diversity in storytelling. By encouraging more Native writers and filmmakers to tell their own stories, Hollywood can move away from perpetuating harmful stereotypes and tropes and instead foster an environment of inclusivity and genuine representation.

Conclusion: A Step Towards Authenticity and Cultural Appreciation

The adjustments made to “Killers of the Flower Moon” serve as an important reminder of the need for increased cultural sensitivity and authenticity in filmmaking. By acknowledging concerns about white-savior narratives and working closely with the Osage Nation, director Martin Scorsese and the production team have taken a significant step towards addressing historical storytelling pitfalls.

This film presents an opportunity to showcase the history and experiences of the Osage people while avoiding harmful stereotypes and tropes. By amplifying the voices of marginalized communities and embracing authentic representation, “Killers of the Flower Moon” offers a chance for audiences to engage with a more nuanced and respectful portrayal of history. It is through such collaborations and conscious storytelling choices that the film industry can contribute to a more inclusive and diverse cultural landscape.